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Thursday night has traditionally been held as “the night” in Baton Rouge nightlife. There are many reasons: competition with New Orleans’ weekend lineup, local drink specials, but for me, the blues jam at Phil Brady’s has always been a great de facto start for my extended weekend. Started by lethal harp player Shannon Wiliford 20 years ago, the self-described “World Famous Blues Jam” has played host to virtually every blues artist and brave unknown that felt the lonesome call. One of my favorite nights was when a young Russian hitchhiker ended up there and coerced the house band into doing a killer “Back in the U.S.S.R” at both the beginning and the end of night. Another was when a cat named Stanley from Port Allen summoned me and my crew to the dance floor with the most definitive performance of “Boney Maroni” ever played.

I can add this past Thursday’s installment to that roster, for every name in the Baton Rouge blues pantheon (except Tabby Thomas, regrettably) was in attendance. When I got there, Ernest Scott was commanding the stage, supported by the devastating guitar work of a kid named Christopher whose soulful smoldering sound belied his years. Some other highlights were ‘Lil Ray Neal’s nailed-down take of “Big Boss Man,” Oscar “Harpo” Davis’ freight train moan and Larry Garner’s almost conversational version of the blues, among other permutation throughout the night.

But, I knew I was in the right place in the universe when I had a drink in one hand, a chicken leg in the other and Big Luther Kent bellowed “ARE THERE ANY BLUES LOVERS IN THE HOUSE TONIGHT?” at the start of his run. Luther has one of those amazing blues voices. The force of it is like the crack of a tree falling. The house responded in full every time he made the request. It was a beautiful thing. The blues, like its more popular nephew rock-n-roll, has managed to roll with the years and stay relevant. The misconception is that it’s all about suffering and wallowing, and it is on occasion, but mostly, the blues is about perseverance and triumph, and I hope I feel the same way about it 20 years from now at Phil Brady’s 40th blues jam anniversary.

THE BEAT GOES ON

Wednesday, July 26: Evil is afoot, or possibly, a-hoof at The Darkroom with Catholicon, Gorebortion, Dark Faith and Necrid. Epic, Gracier and Blessed Yes are at the Spanish Moon.

Thursday, July 27: Elevator Action and Mister E. intend to wig you out at Chelsea’s. Benison, For Those Who Remember, Signature Escape, Gone by Daylight and Kingston Falls are at The Darkroom.

Friday, July 28: Athens singer-songwriter phenom Nate Nelson is at the Red Star. Suplecs, Pistols at Dawn and Lagerhead rip the North Gate Tavern a new one. The Captain Legendary Band and Wrinkle Neck Mules are at Chelsea’s. Another Big Machine takes the stage at the Varsity with Lucid and Ethylene. Solace, Six foot Shallow and Sporatic are kindly offering up ass-kickings at Click’s. Remembering Never, Ed Gein, Ligeia, Lions, Death Sentence, Cherem and Wake into the Nightmare are at The Darkroom.

Saturday, July 29: The Red Shift Collective will be providing a soundtrack to Fritz Lang’s “Metropolis” at the Baton Rouge Gallery at 8 p.m. The Public, Good Guys and Hi-Five rock it out at the Spanish Moon. Dope science will assuredly be dropped when 6-Pack Deep, the South Coast Coalition and Lil Witness rock the mic at North Gate Tavern. The Michael Foster Project is a Chelsea’s. Echelon and Shedding Old Skin are at Click’s. The Caterie stages an all-ages show with As Cities Burn, Jonezetta, Maylene and The Sons of Disaster and Lorene Drive with The American Tragedy appearing later in the evening.

Sunday, July 30: Die Young, Upon a Burning Body and Commando comprise the hardcore showcase at The Darkroom

Monday, July 31: TJ Black and the Black Sound Parade are at Chelsea’s. Robinson, Signs of Collapse, The Know How, A Thing about Machines, Downtown Fiasco and Lanterns are at The Darkroom.

Want more suggestions for live music this weekend? Click here.